n.e.w.s. is a collective online platform for the analysis and development of art-related activity, drawing upon contributions from around the globe, bringing together different voices, accents and outlooks from the North, East, West and South. | Read more..

Sunday, 02. March 2014 | 01:00 (tz: Europe/Amsterdam)

Crowdfunding: Monetizing the Crowd?

disruptingbusiness

Crowdfunding: Monetizing the crowds?

Not so very long ago the social ‘welfare states’ of Europe[1] provided health care for everyone and a sizeable amount of money for culture, which was generated from tax revenue. Many artists and cultural practitioners had the opportunity to apply for grants, supplemented by patronage, sponsorship, selling their work, or even having jobs. The contemporary discourse in the cultural sector has now shifted and takes its cues from neoliberal policies of management, adopting an ‘everything for the market’ attitude. This has led to Europe’s assimilation of a U.S. inspired laissez-faire approach to culture, and subsequently transformed cultural practices into the burgeoning imagination of the ‘creative industries’. This is marked by a particular condition of state withdrawal of financial support for culture while emergent forms of online, networked platforms increasingly facilitate private donations. For example, electronic money transfers using digital technologies have enabled micro-finance networks that restructure the funding support and patronage earlier available to cultural practitioners. These have ensured an even quicker transfer of the private wealth of citizens to individuals within the cultural sector, such as with the phenomenon of ‘crowdfunding’.[2]

 
Wednesday, 11. December 2013 | 01:00 (tz: Europe/Amsterdam)

Monetizing the Crowds

opentekst5

In Marxist theory capitalism is unified through the exchange of commodities that mediate the interaction between people and their relations. Unlike feudal societies where people interacted subjectively and were familiar, in capitalism the producers of the products of labour in the factory are invisible and anonymous, and people relate to each other through the ‘universal equivalent’ or ‘money form’. [1] The social relations, then, appear as material objects or things, along with money as a fetishized commodity as a result of the reifying effects of this universalised trade in commodities. Nowadays, with the increasing advancement of digital technologies, microfinance enables monetary exchanges between willing and known parties through crowdfunding campaigns.

 

An Art Without Qualities: Raivo Puusemp's "Beyond Art -- Dissolution of Rosendale, N.Y."

rosendale_a_public_work

Indisputably one of the most exceptional documents in the history of concept art -- made up of archival material from one of the most thought-inspiring operations in the history of art on the 1:1 scale -- has recently been republished by Dublin's Project Arts Centre. Entitled Beyond Art - Dissolution of Rosendale, N.Y., it traces New-York conceptualist Raivo Puusemp's two-year tenure as mayor of the chronically conflicted and debt-beleaguered village of Rosendale, N.Y. between 1975 and 1977, from his election campaign to his resignation after successfully redrawing the political boundry lines, dissolving the bankrupt village and incorporating it into the neighbouring township of the same name. Puusemp's intervention, if we can call it that since he carefully avoided such artworldly jargon and at no time boasted that what he was doing was "art," has virtual urban-legend status in concept-art circles, after having been famously championed by Allan Kaprow in The Blurring of Art and Life. In fact, it seems that Puusemp's self-understanding as to the status of his political involvement and its outcome -- was it an artwork? an art-informed process? -- evolved over the course of his term as mayor. Yet, as he makes clear in his pithy introduction, Rosendale, A public work stemmed directly from his conceptual practice. It would be Puusemp's last acknowledged artistic project. And indeed, given its radically low coefficient of specific visibility, it is only thanks to Puusemp's friend Paul McCarthy that these documents were assembled and published at all -- in 1980, by the now defunct collective, Highland Art Agents. Upon resigning as mayor, Puusemp left Rosendale forever, moving to somewhere in Utah, and thereby joining the nebula of "offroad conceptualists" who have withdrawn from the artworld attention economy into the shadows, never performing what they do as art.

 

The Escapologist. Rasheed Araeen and the transformative potential of art beyond art

art_beyond_art

Rasheed Araeen's Art Beyond Art belongs to that select category of artists' writings that includes Allan Kaprow's Essays on the Blurring of Art and Life, Martha Rosler's Decoys and Disruptions, Robert Smithson's Collected Writings, or Jimmie Durham's A Certain Lack of Coherence, which at once stake out irreversible art-historical positions and exemplify the full heuristic power of theory when pursued as a full-fledged practice. The practice of theory, of course, has never been a sideline pursuit for Araeen, the founding editor of Third Text -- a journal whose purpose and accomplishment it was to eke out a space of possibility for practices that actually existed but had no oversight on their conditions of visibility. Third Text's controlled coefficient of specific visibility as a collective, conceptual artwork situated it in the "art-beyond-art" category -- that is, of practices whose self-understanding is as art, but which manage to avoid being performed as art, somehow foiling the powerful apparatus of performative capture within what Araeen calls "the legitimising prisonhouse" of bourgeois aesthetics. Though Third Text, as we know, has since been captured by those very forces it had set out to challenge, Rasheed Araeen, we can be sure, eludes capture.

 

Screens

image

We see in Man on the Moon, a biopic on Andy Kaufman, how he fragments his stage identity into multiple personas. These personas then become screens for new stories to unravel. In this text I propose the possibility of screens which are more than surfaces for projection. I set the ground for the next text which proposes a people-propelled-cinema.

Are screens just flat viewing surfaces? Can we blur their sharp edges? By asking these questions I propose that screens being one of the basic units of media analysis, is not an absolute or simplistic. In questioning models of participation and reward in usership based communities and in audiences, by letting screens overcome their flatness, we have new complexities to deal with.

 
Sunday, 09. June 2013 | 00:00 (tz: Europe/Amsterdam)

Viewership

image

In this text I discuss viewing as a process and although it relates to usership it's not about using but viewing. It's not Paid Usership however yet it relates to it the French filmmaker Jean-Luc Godard and his statement in Six fois deux that all viewers should be paid to watch television. This text is not about one-directional TV viewing, rather viewership here is describing two modes of visually engaging with cinema and then offers ways to account for the unpaid labour of visual engagement.

 
Thursday, 14. March 2013 | 01:00 (tz: Europe/Amsterdam)

Aesthetic Journalism

aestheticjournalism

Although some readers might uphold the 20th century definition of aesthetics as concerning subjective forms or 'beauty' enforced by a group of modernist believers, others would rather engage with a more open-ended terminology. Take for example, Alfredo Cramerotti's: 'a process in which we open our sensibility to the diversity of the form of nature (and man-made) environment and convert them to tangible experience.’ So in other words, most anything that is produced nowadays could be considered aesthetics? What is perhaps most engaging is how aesthetics is taken up in journalism, in other words what Cramerotti entitles aesthetic journalism, with his eponymous book.

Cramerotti states that this concept makes possible contributing to knowledge building with a new aesthetic regime, which, in turn, questions the truth-value of a traditional regime. More importantly, it denounces that the system of representation is the same as what it represents as journalism is thought of trying to do -being the same as the facts represented. According to him it involves those artistic activities in the form of investigating social, cultural and political circumstances that take shape in the art context, rather than media.

 
Friday, 25. January 2013 | 01:00 (tz: Europe/Amsterdam)

Uselessness, Refusal, Art, and Money (encounters with David Graeber's Towards an Anthropological Theory of Value).

readingbetween_shipping

On Reading  Alone

I report here on an encounter with a book, and an encounter with the problems of reading itself.  The book: David Graeber's Towards an Anthropological Theory of Value.  which I picked up following the trail of Marcel Mauss' The Gift (Graeber's book is a meditation on the differing visions of Mauss and Marx for economic life as read through the lens of anthropology).  If you operate outside of institutions, which I typically do, one book leads to another and another along solitary and idiosyncratic paths.  You often find yourself in a cloud of companionship with people you've never met, some living, some dead, some speaking native languages you have no acquaintance with.  This is thrilling, but a little surreal. As you'll see, Towards an Anthropological Theory of Value was a pleasure to wrestle with and test ideas against, but for me it also represented the moment where I turned from an ideal of books engendering books in the future, to books as a way of making relationships in the present.

 
Friday, 14. December 2012 | 01:00 (tz: Europe/Amsterdam)

After Third Text

tt1-23
tt1-23

Third Text was both an art-theoretical journal, at the forefront of rethinking the conceptual institutions of art from a postcolonial perspective, and a proposition -- an artistic proposition -- of an art-theoretical journal, at the forefront of rethinking the conceptual institutions of art from a postcolonial perspective. It was both theory in practice and the practice of theory, because, from the outset, it was conceived by founding editor Rasheed Araeen, as a fully-fledged, conceptual and collective artwork -- though there was never any explicit reason for its contributors and readers to acknowledge that, since there was nothing "arty" about it, nor would it have changed in any way had it not been an artistic proposition. Yet it was precisely this 1:1 scale that it instantiated which gave it the political and conceptual wherewithal to challenge not only the biases of the mainstream artworld (and to have been an effective tool in bringing about tangible shifts in representation) but more importantly to rethink art as a whole, its mode of being and operating in the world. By operating on this 1:1 scale, it deftly eluded a certain institutional capture -- never quite what it seemed, nor where it seemed. It was an improbable discursive war machine, emerging from the political struggle against institutionalized racism in the 1970s and 80s, but an exceptionally robust one, no doubt because it proved itself capable of reinventing itself time and again, rather than falling victim to its own success. It was Rasheed Araeen's artistic proposition, but as a collective platform it was of vital importance to so many of us -- for n.e.w.s. amongst others -- both in pointing a way beyond "the altruism of collaboration" as Araeen put it, creating the kind of "world extension" required to give meaning to an uneasy global conversation and helping to imagine new ways of repurposing artistic energies with a view to transformation.

Sadly, it has become necessary to say all these things about Third Text in the past tense. Third Text has been hijacked by its Board of Trustees, who in the name of neoliberal good governance and professionalization -- but scant regard for the critical and dissident politics that were the journal's hallmark and raison d'être -- literally locked Rasheed Araeen out of the offices and usurped full editorial and administrative control.

 
Tuesday, 11. December 2012 | 01:45 (tz: Europe/Amsterdam)

Unstable by design: failure is the central idea

e

things are in a disarray;

designed to fall apart,
resistance is the privilege.

Accidents are not disruptions in the pattern, they are the norm. Every time things happen according to plan, it is a mistake. And this is not being pessimistic.